1,437 results for "sevres porcelain"

Pair of large covered vases in painted porcelain, 19th century, Napoleon III period. A pair of large covered vases in painted porcelain in the Sèvres style, gilt bronze mounts, 19th...

A wonderful and detailed French 19th century Biscuit de Sèvres statuary of "Enfant à la cage" after Jean-Baptiste Pigalle. This high quality piece made by Sèvres is after the origina...

A handsome and high quality French 19th century Biscuit de Sèvres statue of the young Harvester signed Quinter E. B. Paris. The statue is raised by a fin...

Made of bisque porcelain in the middle of 19th century, presumably by Royal French Porcelain Manufacture de Sevres, the clock in the form of a scene where an elegant officer was depi...

The exceptionally large cobalt glazed urn-shaped body richly decorated with cornucopia foliate gilt motifs, sided by stylized palmette-shaped gilt handles. Signed on the body in gilt script ‘Pinon Heuze...

A fine pair of Sevres style "Jeweled" blue-ground vases and covers, France 19th century. Each of shield-shape, the shallow domed cover with pinecone finial, the flaring neck gilt wit...

Comte d'Arcangues 1986, Michel, Comte d'Arcangues, against a wall of Sevres and Compagnie des Indes porcelains at his chateau d'Arcangues, Biarritz, France. Paper Size 24x20 inc...

'Comte d'Arcangues' 1986, Michel, Comte d'Arcangues, against a wall of Sevres and Compagnie des Indes porcelains at his chateau d'Arcangues, Biarritz, France. 30 x 20" inches / 7...

René Collamarini & Manufacture de Sèvres "Les Elements" 3 part centerpiece, 1958 Signed & stamped Porcelain Measures: H. 34 x 35 x 20 cm H. 26 x ...

An elegant French neo-classical st. Sèvres Bisque clock signed Guyon a Lyon ( Jean Baptiste Guyon). The clock is raised by ormolu supports below th...

This is a beautiful pair of Spode hand painted, artist signed "Sevres Green" porcelain vases with gilded graceful handles rising above the opening. Painted on both front and reverse ...

Sèvres porcelain oil lamp, mid-19th century (1840-60). On one side are depicted flowers, on the other a couple.

Of egg-shell porcelain in Sevres and/or Chelsea style, with four panels of finely painted of Putti in various pursuits, the shoulder and cover with interlaced openwork, dolphin finia...

A Sèvres style blue ground gilt metal mounted circular box and cover. A Sèvres style blue ground gilt metal mounted circular box and cover, painted with a quarter-length portrait ...

Pair of Sevres- Type Ormolu mounted pictorial cache-pots, 19th century, Measures: 7.5 inches high 6.5 diameter.  

A very good quality pair of 19th century French ormolu and porcelain mounted pier cabinets, each with cross-banded decoration, monopodia supports, the Sevres style porcelain plaques ...

This Victorian credenza is raised upon ebonised turned feet Circa 1860 Hand crafted from burr walnut with a lovely patina The credenza having a central door featuring a Sevre style p...

The Following Item that we are offering is A Rare and Impressive Magnificent and Exquisite Rare Large Handpainted Sevres Style Limoges Stamped Porcelain Cake Plate Server Centerpiece...

Rococo style gilt bronze mounted porcelain clock garniture French, late 19th century Measures: Clock: Height 38cm, width 27cm, depth 13...

Early 20th C. French Louis XV Style, Inlaid, Ormolu Mounted, Kingwood Secretary! Gorgeous Secretary, French Louis XV Style Inlaid Ormolu Mounted, Kingwood, Early 20th C!! This stun...

We present this cut crystal bowl, elegantly poised on a gilt bronze pedestal adorned with a charming, seated putto, serving as a stem and holding the bowl on top his head. The base f...

French Gilt Metal and Porcelain Figural Clock, late 19th century, the circular white enamel dial with strike on bell movement, indistinctly signed, surmounted by a farmer with his ha...

Archival Pigment Print Year: 2015 Signed, dated and numbered in ink on label affixed verso Other sizes available upon request COA provided arita, aritaware, bones, ceramic Sculpture, ceramics, china paint, chinapaint, chris anteman, contemporary ceramics, contemporary porcelain, death, decal, deer, ephemerality, etagere, excess, futility of pleasure, georg flegel, glaze, gold luster, Herend, ilona romule, imari, imariware, jingdezhen, limoges, meissen porcelain, memento mori, Mortality salience, old masters, pattern, photography, porcelain, sevres, Sic transit gloria mundi, skull, still life painting, Ubi sunt, underglaze, vanitas, vanitatum, vera mercer...

French, 19th century. Bronze ormolu mounted blue ground porcelain navette- form footed encrier or inkstand in the manner of Sevres, having gilt accented reserves decorated with flora...

Suzanne LALIQUE Traditional Yellow Dress Original carbon pencil and gouache on vellum Signed with the stamp of atelier on the back On vellum 31 x 24 (c. 12 x 9.4 in) Very good cond...

Suzanne LALIQUE Baroque Pink Dress Original carbon pencil and gouache on vellum Signed with the stamp of atelier on the back On vellum 31 x 24 (c. 12 x 9...

Suzanne LALIQUE King's Courtier Costume Original Carbon Pencil Drawing Signed with the stamp of atelier on the back On vellum 37.5 x 26 cm (c. 15 x 10 in) Excellent condition Info...

Suzanne LALIQUE Musketeer Costume Original Carbon Pencil And Gouache Drawing Signed with the stamp of atelier on the back On vellum 31.5 x 24 cm (c. 12 x 9.4 in) Excellent condit...

"Jeune Fille" is an original sepia etching by Marie Laurencin. The artist's stamped signature is in the lower right. This piece features a delicate portrait of a young girl. 13" x 9 7/8' paper 9" x 5 1/2" image 20 7/8" x 17 3/8" frame Marie Laurencin (October 31, 1883 - June 8, 1956) was a French painter and printmaker. Laurencin was born in Paris, where she was raised by her mother and lived much of her life. At 18, she studied porcelain painting in Sèvres. She then returned to Paris and continued her art education at the Académie Humbert, where she changed her focus to oil painting. During the early years of the 20th century, Laurencin was an important figure in the Parisian avant-garde. A member of both the circle of Pablo Picasso, and Cubists associated with the Section d'Or, such as Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri le Fauconnier and Francis Picabia, exhibiting with them at the Salon des Indépendants (1910-1911) and the Salon d'Automne (1911-1912). Laurencin's works include paintings, watercolors, drawings, and prints. She is known as one of the few female Cubist painters, with Sonia Delaunay, Marie Vorobieff, and Franciska Clausen...

A good quality 19th century French Kingwood jardinière, having gilded ormolu mounts and swags, Sevres style porcelain plaques and raised on elegant scrolling cabriole legs.

Rare pair of 19th Century French Kingwood and Tulip wood veneered Bonheur du jours, each with pierced three quarter brass galleries, gilded ormolu mounts, three drawers either side o...

For Manufacture nationale de Sèvres A flared porcelain bowl on a tall foot, decorated with a floral frieze inside, blue-grey enamels on a white enameled ground. Enamelled factory sig...

A Louis XVI Style Porcelain Mounted Gueridon. The oval top with a pierced gallery centred by an inset Sèvres-style porcelain plaque painted ...

A wonderful tall pair of French Louis XVI kingwood cabinets with outstanding oval Sevres style porcelain plaques depicting cherubs, covered with gilt ormolu mounts, each with a singl...

A very good quality mid-19th century Walnut credenza having Amboyna cross banding, gilded ormolu mounts, shaped glass doors to either si...

A tripod gueridon in gilded bronze attributed to F. Barbedienne, decorated with palm-leaves and standing on lion’s feet. The black marble top is decorated with an antique chariot...

A good quality pair of French Kingwood, ormolu-mounted jardinières, each with zinc liners, ormolu galleries, Sevres style porcelain plaques and raised on elegant cabriole legs.

A fine quality pair of late 19th-century Satinwood pier cabinets, with ormolu mounts and intricate design. Each cabinet features inset hand-painted Sevres-style porcelain plaques, b...

Parrotlet by Armand PETERSEN (1891-1969) & SEVRES Manufacture Sculpture in white paste porcelain Signed « A. Petersen » Old edition artwork. Stamped by the porcelain manufacture of ...

An exquisite Louis XV/Louis XVI Transitional style vitrine by the renowned French cabinetmaker François Linke from the late 19th century. Crafted in kingwood and mahogany, this fine ...

"Carthage" also known as "Salammbô at Mathô, I Love You! I Love You" by Théodore RIVIERE (1857-1912) A bronze group with a nuanced greenish brown patina Signed on the base " Théodor...

A very good quality 19th century French kingwood marquetry inlaid side table, having a hinged top, opening to reveal a compartmented interior. Sèvres style porcelain plaques inset to...

Pair of busts of Albrecht Dürer and Rembrandt van Rijn by Albert-Ernest CARRIER-BELLEUSE (1824-1887) A pair of silvered bronze busts Each signed on the back "A. Carrier" The all rep...

A good quality 19th century French Boulle inlaid two-tier étagère. Having gilded ormolu mounts, an oval Sevres style porcelain plaque to the...

A fine quality late 19th Century French LOUIS XVI style, Sevres style porcelain mounted Bonheur du jour. Having an inset white marble top, ormolu gallery + mounts. Three drawers abov...

A wonderful late 19th century French Annular Louis XVI style gilded ormolu revolving mantel clock, depicting putti representing the arts and music, either side of a rotating tole urn...

Poster project for the "XVe Salon des Artistes Décorateurs" by Jean DUPAS (1882-1964) Original drawing Pencil, with highlights of gouache Signed "Jean Dupas" Dated "1924" Dedicated ...

Slim Aarons Comte d'Arcangues, 1986 C print Estate stamped and numbered edition of 150 with Certificate of authenticity 1986, Michel, Comte d'Arcangues, against a wall of Sevres a...

A very good quality late 19th Century French Kingwood ormolu mounted Bureau de Dame. Having glazed doors above, a fall front opening to reveal d...

A pair of giltwood and marble-inlay stands French, 20th century Height 70cm, diameter 41cm Made to complement and display luxury items such as Sevres style porcelain vases, these fine stands are French-made, and date from the early 20th century. They are decorated with rich and pleasing giltwood carving in floral motifs, interlaced with songbirds around the four areas that lie just below the upper surface, which is inset with a small marble disc. The legs continue down in long arcing curves, and are connected with a simple cross design close to the base. Either as stand-alone pieces, but ideally with a suitable pair of objects...

A Pair Of Louis XVI Style Gilt-Bronze And Royal Blue Sèvres-Style Porcelain Three-Light Vase Candelabra. Each baluster-form vase applied with a fruiting swag, flanked by twin entwin...

A mid-Victorian kingwood serpentine cabinet, English in the French style, the shaped top with burr-walnut half veneers within kingwood banding and b...

Bust of a Young woman wearing a tiara by Albert-Ernest CARRIER-BELLEUSE (1824-1887) Sculpture in bronze with a nuanced dark brown patina signed on the shoulder "A. Carrier Belleuse"...

Sculpture in Sèvres porcelain, titled « Fallen woman », by Louise Bourgeois for the manufacture nationale de Sèvres, France circa 1996. Edition numbered 21/25. Stamped « Manufacture ...

An Important and very rare Empire period Paris porcelain ormolu-mounted Empire rectangular shaped two-handled casket decorated and assembled by ...

Sevres 19th C. Original Hand Painted Porcelain Signed "G Poitevin" approx 9 x 5 inches/15 x 12 framed The vast and diverse production of the Sèvres factory in the nineteenth century resists easy characterization, and its history during this period reflects many of the changes affecting French society in the years between 1800 and 1900. Among the remarkable accomplishments of the factory was the ability to stay continuously in the forefront of European ceramic production despite the myriad changes in technology, taste, and patronage that occurred during this tumultuous century. The factory, which had been founded in the town of Vincennes in 1740 and then reestablished in larger quarters at Sèvres in 1756, became the preeminent porcelain manufacturer in Europe in the second half of the eighteenth century. Louis XV had been an early investor in the fledgling ceramic enterprise and became its sole owner in 1759. However, due to the upheavals of the French Revolution, its financial position at the beginning of the nineteenth century was extremely precarious. No longer a royal enterprise, the factory also had lost much of its clientele, and its funding reflected the ruinous state of the French economy. However, the appointment in 1800 of Alexandre Brongniart (1770–1847) as the administrator of the factory marked a profound shift in its fortunes. Trained as both an engineer and a scientist, Brongniart was both brilliant and immensely capable, and he brought all of his prodigious talents to the running of the troubled porcelain factory. He directed the Sèvres factory as administrator until his death in 1847, and during those five decades influenced every aspect of its organization and production. Much of the factory’s old, undecorated stock was immediately sold off, and new forms—largely in the fashionable, more severe Neoclassical style—were designed to replace out-of-date models. The composition for hard-paste porcelain was improved, and the production of soft paste, for which the factory had been famous in the previous century, was abandoned in 1804. New enamels colors were devised, and Brongniart oversaw the development of a new type of kiln that was both more efficient and cost-effective. Much of the factory’s output during Brongniart’s first decade reflected the prevailing Empire taste, which favored extensive gilding, rich border designs, and elaborate figural scenes (56.29.1–.8). Backgrounds simulating marble or a variety of hardstones were employed with greater frequency (1987.224); the new range of enamel colors developed under Brongniart made it easier to achieve these imitation surfaces, and it is thought that his interest in mineralogy provided the impetus for this type of decoration. For objects produced in sets, such as dinner, tea, and coffee services, and even garnitures of vases, Brongniart preferred decorative schemes that linked the objects in terms of subject matter as well as stylistically. Dinner services were given coherence by the use of an overall theme, in addition to shared border patterns and ground colors. One of the best examples of this can be found in the “Service des Départements,” which was conceived by Brongniart in 1824 (2002.57). Each of the plates in the service was decorated with a famous topographical view of the département (administrative unit) of France that it represented, and its border was painted with small cameo portraits of figures from the region, as well as symbols of the major arts, industries, and products of the area. This same type of thematic unity is found on a coffee service produced in 1836 (1986.281.1ab–4). All of the pieces of the service are decorated with scenes depicting the cultivation of cacao, from which chocolate is made, or various stages in the preparation of chocolate as a beverage. The compositions were conceived and executed by Jean Charles Develly, a painter at Sèvres who was responsible for many of the most ambitious dinner services produced at the factory during Brongniart’s tenure. The range of objects produced in the first half of the nineteenth century was enormous, as were the types of decoration that they employed. A recent exhibition catalogue devoted to Brongniart’s years at Sèvres indicates that ninety-two new designs for vases were introduced, as were eighty-nine different cup models, and the types of objects produced by the factory included every sort of form required by a dinner or dessert service, coffee and tea wares, decorative objects such as vases, and functional objects such as water jugs, basins, and toiletry articles. A new form rarely replaced an older one; the range of production simply increased. The same was true with types of decoration, as the factory was working in a wide variety of styles at any given time. From the earliest years of the Sèvres factory, its painters had copied not only contemporary compositions but also prints and paintings from earlier periods. However, under Brongniart, the factory sought to copy famous paintings with the specific intention of recording the “true” appearance of works increasingly perceived to be fragile. Works by a wide variety of artists were copied, but those by Raphael were especially popular. Raphael’s stature is reflected in a vase of 1834 in which a cameo-style portrait of the artist decorates the primary reserve, while on the back an artist’s palette is encircled by the names Titian, Poussin, and Rubens (1978.373). Just as works by earlier artists were copied, so too were decorative techniques of previous centuries. The interlace patterns of so-called Saint-Porchaire ceramic ware of the sixteenth century served as the inspiration for the decoration on a cup of 1837 (2003.153). The form of the cup itself derives from Renaissance silver forms made in Italy and France. However, the palette of vibrant reds, greens, blues, and yellows contrasts markedly with the muted browns and off whites of Saint-Porchaire wares and reflects the reinterpretation of historical styles that was characteristic of so much of nineteenth-century decorative arts. Interest in the Gothic style emerged early in Brongniart’s tenure at Sèvres and remained popular for much of the nineteenth century. Strict adherence to Gothic motifs was rarely observed, however, and the Gothic style was more evoked than faithfully copied. This tendency is reflected in a pair of vases (1992.23.1) for which the model was designated vase gothique Fragonard (named after the vase’s designer, Alexandre Evariste Fragonard [1780–1850]. The Gothic elements lie more in the painted decoration than in the form itself, and the style of the painting reflects a Renaissance technique rather than a medieval one. The palette of grays and whites on a blue ground instantly recalls the enamel-on-copper wares produced in Limoges, France, in the sixteenth century, and its use on these vases indicates the willingness to freely mix artistic styles and techniques of different periods in order to achieve new aesthetic effects. The eclecticism and historicism that characterized so much of the production during Brongniart’s tenure continued after his death in 1847. The factory’s output reflected an ongoing desire for technical innovation as well as a wide embrace of diverse decorative styles that were employed simultaneously. A tea and coffee service of 1855–61 (69.193.1–.11) embodies the selective borrowing of forms and motifs that is found so frequently in Sèvres production of the middle decades of the nineteenth century. The shapes used for the different components of the service evoke both China and the Near East, an obvious allusion to the origins of the two beverages. The openwork decoration refers directly to Chinese ceramics made in this technique, and the decoration employs a variety of Chinese emblems. However, the palette of pink and gold, entirely European in character, serves to neutralize the Asian aspects of the service. Perhaps the only thread that can be said to run through much Sèvres production of the nineteenth century is the proclivity to borrow freely from various historical styles and then to either reinterpret these styles or combine them in unprecedented ways. A standing cup of 1879 (1990.238a,b) draws upon silver cups of the Renaissance for its form, but in this instance the size of the porcelain cup dwarfs any of its metal prototypes. Its style of decoration derives from Limoges painted enamels of the sixteenth century, but the prominent use of gilding throughout reflects its wholly nineteenth-century character. This cup was presented by the French government to one of the first-prize winners at the 1878 Exposition Universelle. It was with the advent of the Art Nouveau style at the very end of the nineteenth century that historicism lost its grip at Sèvres, and indeed throughout the decorative arts, and forms inspired by nature and often characterized by asymmetry become dominant. This reliance upon natural forms is fully evident in a coffee service of 1900–1904 (1988.287.1a,b). The designer, Léon Kann...

Beautiful covered urn by Tyra Lundgren for Rorstrand, Sweden. Created for the 1930 Stockholm Exhibition that showcased Sweden’s most modern achievements in the design at that time. Cherubs with fish...